Name

Year

Credit

credited As

Warning: Invalid argument supplied for foreach() in /media/www/hollywood/Web/releases/20150325105258/vendor/doctrine/common/lib/Doctrine/Common/Annotations/FileCacheReader.php on line 202
Warning: Invalid argument supplied for foreach() in /media/www/hollywood/Web/releases/20150325105258/vendor/doctrine/common/lib/Doctrine/Common/Annotations/FileCacheReader.php on line 202
Warning: Invalid argument supplied for foreach() in /media/www/hollywood/Web/releases/20150325105258/vendor/doctrine/common/lib/Doctrine/Common/Annotations/FileCacheReader.php on line 202
Flight Review

Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
="font-style:>

While not as mainstream or easily accessible as the Hollywood film scene and its awards show The Oscars, The Tonys, the entertainment industry's annual celebration of all things Broadway, may be just as important as its big screen counterpart. Maybe even more so — a Tony win can lead to recognition in puts the spotlight on a show, actor or creative behind-the-scenes contributor. Suddenly, their theatrical endeavor is mainstream, and so is everything they do after. The Tonys is a career making show — the Academy Awards can't always say the same.
Tonight's show could kickstart a number of careers. Find out who the winners are by keeping up with this page all night! The Tonys begin tonight, June 10, at 8 EST on CBS. The winners appear in bold:
Best Play
Claybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur
Best Musical
Leap of Faith
Newsies
Nice Work If You Can Get It
Once
Best Book of a Musical
Lysistra Jones, Douglas Carter Beane
Newsies, Harvey Fierstein
Nice Work If You Can Get It, Joe DiPietro
Once, Enda Walsh
Best Original Score
Bonnie &amp; Clyde, Music: Frank Wildhorn, Lyrics: Don Black
Newsies, Music: Alan Menken, Lyrics: Jack Feldman
One Man, Two Guvnors, Music &amp; Lyrics: Grant Olding
Peter and the Starcatcher, Music: Wayne Barker, Lyrics: Rick Elice
Best Revival of a Play
Death of a Salesman
Gore Vidal's The Best Man
Master Class
Wit
Best Revival of a Musical
Evita
Follies
The Gershwin's Porgy and Bess
Jesus Christ Superstar
Best Actor in a Leading Role in a Play
James Corden, One Man, Two Guvnors
Philip Seymour Hoffman, Death of a Salesman
James Earl Jones, Gore Vidal's The Best Man
Frank Langella, Man and Boy
John Lithgow, The Columnist
Best Actress in a Leading Role in a Play
Nina Arianda, Venus in Fur
Trcie Bennett, End of the Rainbow
Stockard Channing, Other Desert Cities
Linda Lavin, The Lyons
Cynthia Nixon, Wit
Best Actor in a Leading Role in a Musical
Danny Burstein, Follies
Jeremy Jordan, Newsies
Steve Kazee, Once
Norm Lewis, The Gershwin's Porgy and Bess
Rob Raines, Follies
Best Actress in a Leading Role in a Musical
Jam Maxwell, Follies
Audra McDonald, The Gershwin's Porgy and Bess
Cristin MIlloti, Once
Kelli O'Hara, Nice Work If You Can Get It
Laura Osnes Bonnie &amp; Clyde
Best Actor in a Featured Role in a Play
Tom Edden, One Man, Two Guvnors
Christian Borle, Peter and the Starcatcher
Michael Cumpsty, End of the Rainbow
Andrew Garfield, Death of a Salesman
Jeremy Shamos, Clybourne Park
Best Actress in a Featured Role in a Play
Spencer Kayden, Don't Dress for Dinner
Celia Keenan-Bolger, Peter and the Starcatcher
Judith Light, Other Desert Cities
Linda Emond, Death of a Salesman
Condola Rashad, Stick Fly
Best Actor in a Featured Role in a Musical
Phillip Boykin, em>The Gershwin's Porgy and Bess
Michael Cerveris, Evita
Michael McGrath, Nice Work If You Can Get It
David Alan Grier, The Gershwin's Porgy and Bess
Josh Young Jesus Christ Superstar
Best Actress in a Featured Role in a Musical
Jayne Houdyshell, Follies
Jessie Mueller, On a Clear Day You Can See Forever
Elizabeth A. Davis, Once
Judy Kaye, Nice Work If You Can Get It
Da'Vine Joy Randoplh Ghost the Musical
Best Direction of a Play
Nicholas Hytner, One Man, Two Guvnors
Mike Nichols, Death of a Salesman
Pam MacKinnon, Clybourne Park
Roger Rees and Alex Timbers, Peter and the Starcatcher
Best Direction of a Musical
Diane Paulus, The Gershwin's Porgy and Bess
Jeff Calhoun, Newsies
Kathleen Marshall, Nice Work If You Can Get It
John Tiffany, Once
Best Choreography
Rob Ashford, Evita
Christopher Gattelli, Newsies
Kathleen Marshall, Nice Work If You Can Get It
Steven Hoggett, Once
Best Orchestrations
William David Brohn and Christopher Jahnke, The Gershwin's Porgy and Bess
Danny Troob, Newsies
Bill Elliot, Nice Work If You Can Get It
Martin Lowe, Once
Best Scenic Design of a Play
Daniel Ostling, Claybourne Park
John lee Beatty, Other Desert Cities
Donyale Werle, Peter and the Starcatcher
Mark Thompson, One Man, Two Guvnors
Best Scenic Design of a Musical
Rob Howell and Jon Driscoll, Ghost the Musical
Tobin Ost and Sven Ortel, Newsies
George Tsypin, Spider-Man: Turn Off the Dark
Bob Crowley, Once
Best Costume Design of a Play
Paul Tazewell, A Streetcar Named Desire
Don't Dress for Dinner, William Ivey Long
Paloma Young, Peter and the Starcatcher
Mark Thompson, One Man, Two Guvnors
Best Costume Design of a Musical
ESosa, The Gershwin's Porgy and Bess
Gregg Barnes, Follies
Eiko Ishioka, Spider-Man: Turn Off the Dark
Martin Pakledinaz, Nice Work If You Can Get It
Best Lighting Design of a Play
Peter Kaczorowski, The Road to Mecca
Kenneth Posner, Other Desert Cities
Jeff Croiter, Peter and the Starcatcher
Brian MacDevitt, Death of a Salesman
Best Lighting Design of a Musical
Christopher Akerlind, The Gershwin's Porgy and Bess
Natasha Katz, Follies
Natasha Katz, Once
Hugh Vanstone, Ghost the Musical
Best Sound Design of a Play
Paul Arditti, One Man, Two Guvnors
Gareth Owen, End of the Rainbow
Darron L. West, Peter and the Starcatcher
Scott Lehrer, Death of a Salesman
Best Sound Design of a Musical
Acme Sound Partners, The Gershwin's Porgy and Bess
Kai Harada, Follies
Clive Goodwin, Once
Brian Ronan, Nice Work If You Can Get It
="font-style:>
More:
'Once', Philip Seymour Hoffman, Andrew Garfield Earn 2012 Tony Nods
'Once' the Musical: Can an Indie Hit Make a Broadway Smash?

It was a great big morning for the Great White Way: The nominations for the 66th Annual Tony Awards were announced on Tuesday with the adapted musical Once leading the pack with 11 nominations. Broadway vets Kristin Chenoweth and Jim Parsons read the names of the nominees, which included some of their fellow Hollywood elite like Philip Seymour Hoffman and Andrew Garfield, who earned nominations for their work in the harrowing play Arthur Miller's Death of a Salesman. (Cynthia Nixon, James Earl Jones, John Lithgow, Frank Langella, Stockard Channing, and Mike Nichols are among the other notable nominees this year.)
Though Once, the stage interpretation of the beloved 2007 indie breakout, is out in front with 11 nominations (including Best Musical, Best Book of a Musical, Best Choreography, and nods for its two leads Steve Kazee and Cristin Milioti) The Gershwins’ Porgy and Bess and Nice Work If You Can Get It follow closely with 10 each.
While it was no surprised that surefire things like the hit musicals Newsies and Follies earned Tony nods (8 each, to be exact) there were a few snubs and shockers. Most notable was the lack of a nomination for Evita star Ricky Martin in the Best Performance by an Actor in a Leading Role in a Musical (the show itself surprisingly only earned three nods total) and Samuel L. Jackson for his turn as Martin Luther King Jr. in the play The Mountaintop. But, perhaps the biggest surprise of the morning was that the troubled-from-the-start production Spider-Man: Turn Off The Dark received two Tony nominations.
Here's the full list of nominees and recipients, including Hugh Jackman, who will be given the Special Tony Award:
Best Musical
Leap of Faith
Newsies
Nice Work If You Can Get It
Once
Best Play
Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur
Best Revival of a Play
Arthur Miller’s Death of a Salesman
Gore Vidal’s The Best Man
Master Class
Wit
Best Revival of a Musical
Evita
Follies
The Gershwins’ Porgy and Bess
Jesus Christ Superstar
Best Performance by an Actor in a Leading Role in a Play
James Corden - One Man, Two Guvnors
Philip Seymour Hoffman - Arthur Miller’s Death of a Salesman
James Earl Jones - Gore Vidal’s The Best Man
Frank Langella - Man and Boy
John Lithgow - The Columnist
Best Performance by an Actress in a Leading Role in a Play
Nina Arianda - Venus in Fur
Tracie Bennett - End of the Rainbow
Stockard Channing - Other Desert Cities
Linda Lavin - The Lyons
Cynthia Nixon - Wit
Best Performance by an Actor in a Leading Role in a Musical
Danny Burstein - Follies
Jeremy Jordan - Newsies
Steve Kazee - Once
Norm Lewis - The Gershwins’ Porgy and Bess
Ron Raines - Follies
Best Performance by an Actress in a Leading Role in a Musical
Jan Maxwell - Follies
Audra McDonald - The Gershwins’ Porgy and Bess
Cristin Milioti - Once
Kelli O’Hara - Nice Work If You Can Get It
Laura Osnes - Bonnie &amp; Clyde
Best Performance by an Actor in a Featured Role in a Play
Christian Borle, Peter and the Starcatcher
Michael Cumpsty, End of the Rainbow
Tom Edden, One Man, Two Guvnors
Andrew Garfield, Death of a Salesman
Jeremy Shamos, Clybourne Park
Best Performance by an Actress in a Featured Role in a Play
Linda Emond, Death of a Salesman
Spencer Kayden, Don’t Dress for Dinner
Cella Keenan-Bolger, Peter and the Starcatcher
Judith Light, Other Desert Cities
Condola Rashad, Stick Fly
Best Performance by an Actor in a Featured Role in a Musical
Phillip Boykin, The Gershwins’ Porgy and Bess
Michael Cerveris, Evita
David Allen Grier, The Gershwins’ Porgy and Bess
Michael McGrath, Nice Work If You Can Get It
Josh Young, Jesus Christ Superstar
Best Performance by an Actress in a Featured Role in a Musical
Elizabeth A. Davis, Once
Jayne Houdyshell, Follies
Judy Kaye, Nice Work If You Can Get It
Jesse Mueller, On a Clear Day You Can See Forever
Da’Vine Joy Randolph, Ghost
Best Direction of a Play
Nicholas Hytner, One Man, Two Guvnors
Pam MacKinnon, Clybourne Park
Mike Nichols, Death of a Salesman
Roger Rees and Alex Timbers, Peter and the Starcatcher
Best Direction of a Musical
Jeff Calhoun, Newsies
Kathleen Marshall, Nice Work If You Can Get It
Diane Paulus, The Gershwins’ Porgy and Bess
John Tiffany, Once
Best Book of a Musical
Lysistrata Jones
Newsies
Nice Work If You Can Get It
Once
Best Original Score (Music and/or Lyrics) Written for the Theatre
Bonnie &amp; Clyde
Newsies
One Man, Two Guvnors
Peter and the Starcatcher
Best Choreography
Rob Ashford, Evita
Christopher Gattelli, Newsies
Steven Hoggett, Once
Kathleen Marshall, Nice Work If You Can Get It
Best Scenic Design of a Play
John Lee Beatty, Other Desert Cities
Daniel Ostling, Clybourne Park
Mark Thompson, One Man, Two Guvnors
Donyale Werle, Peter and the Starcatcher
Best Scenic Design of a Musical
Bob Crowley, Once
Rob Howell and Jon Driscoll, Ghost the Musical
Tobin Ost and Sven Ortel, Newsies
George Tsypin, Spider-Man Turn Off The Dark
Best Costume Design of a Play
William Ivey Long, Don’t Dress for Dinner
Paul Tazewell, A Streetcar Named Desire
Mark Thompson, One Man, Two Guvnors
Paloma Young, Peter and the Starcatcher
Best Costume Design of a Musical
Gregg Barnes, Follies
ESosa, The Gershwins’ Porgy and Bess
Eiko Ishioka, Spider-Man Turn Off The Dark
Martin Pakledinaz, Nice Work If You Can Get It
Best Lighting Design of a Play
Jeff Croiter, Peter and the Starcatcher
Peter Kaczorowski, The Road to Mecca
Brian MacDevitt, Arthur Miller’s Death of a Salesman
Kenneth Posner, Other Desert Cities
Best Lighting Design of a Musical
Christopher Akerlind, The Gershwins’ Porgy and Bess
Natasha Katz, Follies
Natasha Katz, Once
Hugh Vanstone, Ghost the Musical
Best Sound Design of a Play
Paul Arditti, One Man, Two Guvnors
Scott Lehrer, Arthur Miller’s Death of a Salesman
Gareth Owen, End of the Rainbow
Darron L. West, Peter and the Starcatcher
Best Sound Design of a Musical
Acme Sound Partners, The Gershwins’ Porgy and Bess
Clive Goodwin, Once
Kai Harada, Follies
Brian Ronan, Nice Work If You Can Get It
Best Orchestrations
William David Brohn and Christopher Jahnke, The Gershwins’ Porgy and Bess
Bill Elliott, Nice Work If You Can Get It
Martin Lowe, Once
Danny Troob, Newsies
Isabelle Stevenson Award
Bernadette Peters
Special Tony Award
Actors’ Equity Association
Hugh Jackman
Neil Patrick Harris who tweeted, "Tony nominations. The biggest day in the world for a very small faction of people" will host the show for the third time in his career. The 66th Annual Tony Awards will air live from the Beacon Theater in New York City on CBS on June 10 at 8 PM ET. Which shows and stars were you glad to see get Tony nominations? Who got snubbed? Sound off in the comments section below, Broadway babies!
More:
Neil Patrick Harris To Host The 2012 Tony Awards
Hugh Jackman To Receive Honorary Tony Award
Once the Musical: Can an Indie Hit Become a Broadway Smash?

In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
Follow Thomas Leupp on Twitter.
Follow Hollywood.com on Twitter.

Hollywood was suffering from the box office blahs over the weekend, just as Hollywood insiders anticipated. For the first time since Oct. 22, no films cracked double-digits.
Miramax's PG-13-rated teen-appeal romantic comedy "Down To You" managed to top the chart with only an estimated $8.30 million at 1,971 theaters ($4,211 per theater).
Written and directed by Kris Isacsson, it stars Freddie Prinze Jr. and Julia Stiles.
"I think it's great," Miramax Senior Vice President, Marketing, David Kaminow said Sunday morning. "Freddie Prinze Jr. cannot deny the fact that he has a following. He really can do a great job of opening a picture.
"I think our (marketing) materials were good, and it just looked like a fun movie for its core audience of young girls. There hasn't been anything for them for a while.
"The PG-13 (helped). 'Girl, Interrupted' definitely has a female appeal, but with its R rating, it sort of gets limited a little (to older teen girls). With 'Down To You's' PG-13, it really opens up that lower end of the age range."
New Line's R-rated urban-appeal comedy sequel "Next Friday" was a close No. 2, sliding one slot in its second weekend with a still solid estimated $8.20 million (-43%) at 1,175 theaters (+72 theaters, $6,979 per theater). Its total is approximately $32 million.
Directed by Steve Carr, it was written by, stars and was produced by Ice Cube.
"I think we've got $45 million in the bag," New Line Executive Vice President, Distribution, David Tuckerman said Sunday morning. "I would have been happy with (a drop of) 50%, so we're thrilled (with 43% off).
"It was a very inexpensive film. The negative cost was about $10 million -- very profitable for New Line."
Universal's critically acclaimed R-rated drama "The Hurricane" held on to third place as it continued to expand in its fourth week with an OK estimated $7.01 million (-22%) at 2,101 theaters (+647 theaters, $3,335 per theater). Its total is approximately $23.4 million.
Directed by Norman Jewison, it stars Denzel Washington as wrongly imprisoned boxing champion Rubin "Hurricane" Carter.
"Hurricane" received three Golden Globe nominations, including best picture, actor/drama (Washington) and director (Jewison). The film is also generating Oscar buzz in those categories.
"'Hurricane' still has its velocity," Universal Distribution President Nikki Rocco said Sunday morning. "In a very soft marketplace, it continues to show legs."
Noting that the film is a top contender for Golden Globes, Rocco said that is helpful because, "It's the visibility. You get a lot of television coverage on the Golden Globes nationally. So Golden Globes always helps. I think it will do well."
Columbia's PG-rated family comedy "Stuart Little" continued to hold well in its sixth weekend, down two pegs to fourth place with a less exciting estimated $6.50 million (-31%) at 3,151 theaters (+59 theaters, $2,063 per theater). Its total is approximately $117.2 million, heading for $140 million or more in domestic theaters.
Directed by Rob Minkoff, it stars Geena Davis, Hugh Laurie and Jonathan Lipnicki.
"As usual, it's nothing but good news on 'Stuart,'" Sony Pictures Releasing President Jeff Blake said Sunday morning. "It certainly seems to be rolling to at least $140 million."
Warner Bros. and Castle Rock Entertainment's R-rated prison death-row drama "The Green Mile" held on to fifth place in its seventh week with a still respectable estimated $5.50 million (-29%) at 2,483 theaters (theater count unchanged, $2,219 per theater). Its total is approximately $109.7 million, heading for $130 million in domestic theaters.
Written and directed by Frank Darabont, it stars Tom Hanks.
DreamWorks' PG-rated sci-fi fantasy comedy "Galaxy Quest" held on to sixth place in its fifth week with a less high-flying estimated $4.80 million (-29%) at 2,259 theaters (-191 theaters, $2,125 per theater). Its total is approximately $54.6 million, heading for $60 to $70 million in domestic theaters.
Directed by Dean Parisot, it stars Tim Allen, Sigourney Weaver and Alan Rickman. Columbia's R-rated drama "Girl, Interrupted" dropped three notches to seventh in its fifth week with a less attractive estimated $4.40 million (-46%) at 1,935 theaters (+33 theaters, $2,274 per theater). Its total is approximately $16.3 million. Directed by James Mangold, "Girl" stars Winona Ryder and Angelina Jolie.
"A little bigger drop than we'd like on 'Girl, Interrupted,' but its younger female audience was probably affected by (the arrival of) 'Down To You,'" Sony Pictures Releasing's Blake said.
Paramount's R-rated drama "The Talented Mr. Ripley" dropped one rung to eighth place in its fifth week with a less lively estimated $3.88 million (-36%) at 2,215 theaters (-154 theaters, $1,750 per theater). Its total is approximately $68.4 million.
Written and directed by Anthony Minghella, it stars Matt Damon, Gwyneth Paltrow, Jude Law and Cate Blanchett.
"Ripley" looms as a top candidate for Oscar nominations, having received five Golden Globe nominations -- best picture/drama, actor/drama (Damon), supporting actor (Law), director (Minghella) and score (Gabriel Yared).
"Awards will be a big factor," Paramount Distribution President Wayne Lewellen said Sunday morning. "I figure it's going to get to around $80 million, but if it gets some awards, that could carry it on up there. Certainly, the Academy, if it comes in there, (would be a big help)."
Buena Vista/Touchstone's R-rated boxing-theme comedy-drama "Play it to the Bone" went wide quietly in its fifth week, placing ninth with an estimated $3.5 million at 1,556 theaters (+1,556 theaters, $2,249 per theater). Its total is approximately $3.5 million.
Written and directed by Ron Shelton, it stars Woody Harrelson and Antonio Banderas.
Rounding out the Top Ten was Paramount's R-rated drama "Angela's Ashes," which went wide in its fifth week with a subdued estimated $3.28 million at 610 theaters (+604 theaters, $5,369 per theater). Its total is approximately $3.7 million.
Directed by Alan Parker, "Ashes" stars Emily Watson and Robert Carlyle.
"We got hurt pretty bad by the weather, on Friday, particularly," Paramount's Lewellen pointed out, noting that while the numbers were disappointing, there is the potential of growth, especially if the film does well with Oscar nominations. He added that the snow and bitter cold weather that hit a number of East Coast markets this weekend tend to keep people home, "particularly the older audience, which this film appeals to."
Last weekend also saw the arrival of Miramax's PG-13-rated drama "Diamonds," placing 32nd with a low-carat estimated $0.019 million at 13 theaters in Kansas City ($1,727 per theater). Its total, including its Academy Award qualifying run in December, is approximately $.033 million.
Directed by John Asher, it stars Kirk Douglas, Dan Aykroyd, Jenny McCarthy and Lauren Bacall.
USA Films reissued its PG-rated suspense drama "Rear Window," the Alfred Hitchcock classic starring James Stewart and Grace Kelly. The 1954 film, restored by Robert Harris and James Katz, placed 33rd with an appreciative estimated $0.013 million at one theater in New York ($13,229 per theater).
SNEAK PREVIEWS
Last weekend saw no national sneak previews.
EXPANSIONS
On the expansion front, last weekend saw Columbia's R-rated drama "The End of the Affair" go wider in its eighth week, placing 17th with an unromantic estimated $1.55 million at 686 theaters (+594 theaters, $2,255 per theater). Its total is approximately $5 million.
Directed by Neil Jordan, it stars Ralph Fiennes and Julianne Moore.
"It's a little rough on all the expansi ns this year," Sony's Jeff Blake said Sunday. "It's such a crowded field, you're always bumping into something. It's hard to pick that perfect moment when to expand."
Focusing on the fact that Golden Globes and Oscars would be very helpful in driving "Affair," Blake noted, "Look, if we get a Golden Globe tonight, that would certainly be a plus."
Buena Vista/Touchstone's R-rated drama "Cradle Will Rock" expanded in its seventh week, placing 22nd with a calm estimated $0.60 million at 506 theaters (+450 theaters, $1,186 per theater). Its total is approximately $1.8 million.
USA Films' R-rated drama "Topsy-Turvy" went wider in its sixth week, placing 25th with a brisk estimated $0.34 million at 40 theaters ($8,545 per theater). Its total is approximately $0.5 million.
Written and directed by Mike Leigh, it stars Jim Broadbent and Allan Corduner.
Warner Bros. and Alcon Entertainment's PG-rated family drama "My Dog Skip" added theaters in its second week, placing 30th with an OK estimated $0.12 million at 28 theaters (+23 theaters, $4,300 per theater). Its total is approximately $0.18 million.
Directed by Jay Russell, it stars Frankie Muniz, Diane Lane, Luke Wilson and Kevin Bacon.
Fox Searchlight Pictures' R-rated drama "Titus" went a little wider in its fifth week, placing 29th with an OK estimated $0.15 million at 17 theaters (+9 theaters, $8,500 per theater). Its total is approximately $0.5 million.
Directed by Julie Taymor, it stars Anthony Hopkins and Jessica Lange.
WEEKEND COMPARISONS
Key films -- those grossing more than $500,000 for the weekend - took in approximately $78.95 million, down approximately 1.19% from $79.90 million for the comparable weekend last year. The total would have been $76.90 million and down 3.76% if it were not for Buena Vista/Disney's IMAX run of "Fantasia 2000," which placed 16th with an estimated $2.05 million at 54 theaters in the United States (theater count unchanged, $37,963 per theater). Its total is approximately $17.5 million worldwide.
Last weekend's key film gross for three days cannot be compared with the previous weekend, which was a four-day holiday weekend.
Last year, Paramount's second week of "Varsity Blues" was first with $10.57 million at 2,339 theaters and Universal's fifth weekend of "Patch Adams" was second with $8.10 million at 2,909 theaters. The top two films one year ago grossed $18.7 million. This year, the top two films grossed an estimated $16.5 million.
STUDIO MARKET SHARES
Based on business by key films (those grossing $500,000 or more), last weekend's top six distributors were the following:
Sony Pictures Entertainment (Columbia, TriStar) was first with three films ("Stuart Little," "Girl, Interrupted" and "The End of the Affair") grossing an estimated $12.60 million or 16% of the market.
Buena Vista (Touchstone and Disney) was second with six films ("Play it to the Bone," "Toy Story 2," "Fantasia 2000," "Deuce Bigalow: Male Gigolo," "Cradle Will Rock" and "Bicentennial Man") grossing an estimated $12.25 million or 15.5% of the market.
Miramax (Miramax, Dimension) was third with two films ("Down To You" and "The Cider House Rules") grossing an estimated $10.70 million or 13.6% of the market.
New Line was fourth with two films ("Next Friday" and "Magnolia") grossing an estimated $10.45 million or 13.2% of the market.
Universal was fifth with two films ("Snow Falling On Cedars" and "The Hurricane") grossing an estimated $8.48 million or 10.7% of the market.
Warner Bros. was sixth with two films ("The Green Mile" and "Any Given Sunday") grossing an estimated $8.04 million or 10.2% of the market.
ADDITIONAL ESTIMATES
(11) "Toy Story 2"/BV/Disney: Theaters: 1,990 (-336) Gross: $3 million (-39%) Average per theater: $1,508 Total: $231.3 million
(12) "Any Given Sunday"/Warner Bros.: Theaters: 2,201 (-304) Gross: $2.53 million (-47%) Average per theater: $1,149 Total: $70.3 million
(13) "Supernova"/MGM: Theaters: 2,280 (0) Gross: $2.40 million (-58%)(tie) Average per theater: $1,059 Total: $10.1 million
(13) "The Cider House Rules"/Miramax: Theaters: 823 (+6) Gross: $2.40 million (-15%) (tie) Average per theater: $2,916 Total: $15.7 million
(15) "Magnolia"/New Line: Theaters: 1,077 (+39) Gross: $2.25 million (-34%) Average per theater: $2,089 Total: $15.2 million
(16) "Fantasia 2000"/BV/Disney: Theaters: 54 (0) (all IMAX theatres and all in U.S.) Gross: $2.05 million (% decline N/A) Average per theater: $37,963 Total: $17.5 million (worldwide total)
(17) "The End of the Affair"/Sony Pictures (see EXPANSIONS above)
(18) "Bicentennial Man"/BV: Theaters: 1,607 (-609) Gross: $1.60 million (-53%) Average per theater: $996 Total: $54.4 million
(19) "Deuce Bigalow: Male Gigolo"/BV: Theaters: 1,466 (-454) Gross: $1.50 million (-53%) Average per theater: $1,023 Total: $61 million
(20) "Snow Falling On Cedars"/Universal: Theaters: 1,098 (-57) Gross: $1.47 million (-44%) Average per theater: $1,340 Total: $10.5 million
(20) "Anna and the King"/Fox: Theaters: 945 (-560) Gross: $0.90 million (-57%) Average per theater: $950 Total: $35.9 million
(21) "The World Is Not Enough"/MGM: Theaters: 889 (0) Gross: $0.64 million (-39%) Average per theater: $720 Total: $123.5 million
(22) "Cradle Will Rock"/BV: (see EXPANSIONS above)
(23) "Sleepy Hollow"/Paramount: Theaters: 758 (-134) Gross: $0.55 million (-30%) Average per theater: $726 Total: $96.7 million
(24) "Man On the Moon"/Universal: Theaters: 592 (-628) Gross: $0.44 million (-65%) Average per theater: $745 Total: $33.3 million
(25) "Topsy-Turvy"/USA Films: (see EXPANSIONS above)
(26) "Being John Malkovich"/USA Films: Theaters: 190 (-28) Gross: $0.32 million (-27%) Average per theater: $1,680 Total: $20.2 million
(27) "End of Days"/Universal: Theaters: 334 (-112) Gross: $0.23 million (-34%) Average per theater: $675 Total: $65.5 million
(28) "The Bone Collector"/Universal: Theaters: 341 (-43) Gross: $0.20 million (-35%) Average per theater: $575 Total: $65.1 million
(29) "Titus"/Fox Searchlight: (see EXPANSIONS above)
(30) "My Dog Skip"/Warner Bros. (see EXPANSIONS above)
(31) "The Best Man"/Universal: Theaters: 151 (+7) Gross: $0.076 million (-35%) Average per theater: $500 Total: $34.1 million
(32) "Diamonds"/Miramax: (see OTHER OPENINGS above)
(33) "Rear Window"/USA: (see OTHER OPENINGS above)

Hollywood is ready for a relatively blah box-office weekend that could see New Line's R-rated urban-appeal comedy sequel "Next Friday" hold on to the top spot.
"Nothing looks real exciting," said one studio executive at mid-week. "'Down To You' (opening at about 1,900 theaters via Miramax) actually dropped a little in the tracking. It's down to a 5% first choice -- although you would think that kind of movie with teen-age appeal would be strong on Friday.
"I don't know what it does for the (full) weekend. But right now, it's not looking to me like any of these films get into double digits."
Written and directed by Kris Isacsson, the PG-13-rated teen-appeal romantic comedy "Down" stars Freddie Prinze Jr. and Julia Stiles.
"'Down To You' has a real opportunity here because it's the only (new) thing for teens," an insider said. "I'm sure they'd like to duplicate the success of 'She's All That,' which opened next weekend last year to about $16 million. And that's even with 'Varsity Blues' having been in its third weekend at the time and taking $6 million from that young audience.
"But the tracking for 'Down To You' doesn't show that kind of number right now. But I think 'She's All That' took people by surprise." Buena Vista/Touchstone's R-rated boxing-theme comedy-drama "Play it to the Bone" opens at 1,556 theaters and has some insiders speculating that it could muscle in on the top of the chart action while others say it might not even make the Top Five.
"Bone" was a 5% first choice at mid-week, according to one of the more optimistic observers. By the weekend, he said: "It could jump up in the tracking and get to $8-9 million. Remember, its audience is male and, probably, more young male. They're more likely to act on their choices."
On the other hand, another insider commented: "I think if they did $5 million, they'd be ecstatic. The research is not showing any sort of want-to-go among anything other than males -- a little older than teen-agers, more like college age -- because of the characters and the boxing (story line). But anything can change. There's not much else new (this weekend)."
The insider sees "Friday" as the weekend's top grossing film and adds that "Bone" "may not make the Top Five."
Projecting grosses for the weekend, a studio executive said, "'Next Friday' is probably around $7-8 million. Of all the holdovers, I think 'Next Friday' will be No. 1. So the question is, 'Can any of these new movies get above $7-8 million? I think the only one with a chance is 'Play it to the Bone.'"
Directed by Steve Carr, "Next Friday" was written and produced by and stars Ice Cube. "Play it to the Bone" was written and directed by Ron Shelton and stars Woody Harrelson and Antonio Banderas.
With a first-choice tracking of 8%, the distribution pro said Paramount's R-rated drama "Angela's Ashes" is looking good as it widens after its late December platform release.
"It took a nice bump. Yesterday, it was 6%," the exec said. On the other hand, "Ashes" is only playing at about 600 theaters, so that's not likely to translate into big grosses. "And the limited runs in New York and L.A. have not been all that great.
"'Angela's Ashes' is tracking very well among older females, but they don't necessarily run out the first weekend." Directed by Alan Parker, "Ashes" stars Emily Watson and Robert Carlyle.
Also widening this weekend to 686 runs is Columbia's R-rated drama "The End of the Affair." "It's at 1% first choice," an insider said, suggesting that it is unlikely to perform significantly at the box office. Directed by Neil Jordan, "Affair" stars Ralph Fiennes, Julianne Moore and Stephen Rea. "Affair" is a Golden Globe nominee for best picture, actress (Moore) and original score (Michael Nyman).
What ticket sales are likely? "'Angela's Ashes' is probably in the $3-4 million range, maybe $5 million at best," he said. "'End of the Affair' is probably $2-3 million. 'Play It To The Bone' is really the only one of the new openings with a chance to come in first. If 'Next Friday's' down 45%, it's $8 million. Given its audience (of young urban males), it could be down as much as 50%."
Normally, with an 8% first-choice tracking, "Ashes" would be heading for a gross of about $8 million. "However, in this case, it's a much more limited movie," a distribution executive said. "It's primarily older female (in its appeal), and they don't necessarily act on their choices opening weekend the way the young male or even the young female audience will.
"When you see these engagements in New York and L.A. that have been disappointing, it generally means that your appeal goes down rather than up as you fan out across America."
If Columbia's PG-rated blockbuster family comedy "Stuart Little," last weekend's No. 2 film, drops 35%, it will do about $6 million. "It won't have as big a hit as 'Next Friday,'" the exec said. "It's business is more matinee business, so it didn't get as big a boost from last Sunday night (the eve of the Monday holiday) as some of the adult-oriented films did. So I don't think its drop will be as big." Directed by Rob Minkoff, "Stuart" stars Geena Davis, Hugh Laurie and Jonathan Lipnicki.
Universal's critically acclaimed R-rated drama "The Hurricane" went wide last weekend with respectable but unspectacular results.
"I think 'Hurricane' is between $5-6 million," he said. "And 'Green Mile,' just by virtue of it holding up well, if it's down only 35%, it does $5.5 million." Directed by Norman Jewison, "Hurricane" stars Denzel Washington as wrongly imprisoned boxing champion Rubin "Hurricane" Carter. "Hurricane" received three Golden Globe nominations, including best picture, actor/drama (Washington) and director (Jewison).
A senior marketing executive at Universal said the studio is encouraged by "how much audiences are loving this film. The exit polls have been fantastic (with a) CinemaScore overall grade of A. Yahoo! Movies rated it 4.7 out of 5 stars, the highest rating of any film currently playing.
"The closest comparison for a film like this with a similar release pattern would be 'Good Will Hunting,' which did the same kind of business, had the same kind of enthusiastic response and word of mouth and, obviously, had legs and attracted major Academy attention."
Warner Bros. and Castle Rock Entertainment's R-rated prison death-row drama "The Green Mile," written and directed by Frank Darabont, stars Tom Hanks and Michael Clarke Duncan. Duncan is a Golden Globe supporting actor nominee for his performance.
Also likely to come in between $5-6 million, he said, is Columbia's R-rated drama "Girl, Interrupted." Directed by James Mangold, "Girl" stars Winona Ryder and Angelina Jolie.
The Globes telecast Sunday night will come too late in the weekend to be of much help to the films that win. It might, actually, cut into movie-going Sunday night for adult-appeal films since the Globes and its new pre-show are likely to do very well in terms of ratings.
"It's not an exciting weekend," a studio source said. "Of course, what that means is that you'll see better holds percentage-wise from the holdovers than you did last weekend. Without strong openers, it means the holdovers will hang in there better.
"I think you'll see the business spread more evenly than you've seen recently because you're going to have a lot of movies in that mid-single digit range of $4-6 million."
Filling out lower rungs on this weekend's chart will be Paramount's R-rated drama "The Talented Mr. Ripley" and MGM's R-rated sci-fi horror thriller "Supernova." Written and directed by Anthony Minghella, "Ripley" stars Matt Damon, Gwyneth Paltrow, Jude Law and Cate Blanchett. "Ripley" received five Golden Globe nominations, including est picture/drama, actor/drama (Damon), supporting actor (Law), director (Minghella) and score (Gabriel Yared).
"Supernova," which opened to mediocre business last weekend, stands to fall sharply in its second weekend. Directed by "Thomas Lee," it stars James Spader, Angela Bassett, Lou Diamond Phillips and Robert Forster.
On this weekend's exclusive front in New York, USA Films will reissue its PG-rated suspense/cop drama "Rear Window," the Alfred Hitchcock classic starring Jimmy Stewart and Grace Kelly. Robert Harris and James Katz have restored the 1954 film.